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THEORY 



OF 



SILK WEAVING 



THEORY 

OF 

SILK WEAVING 

A Treatise on the Construction and 
Application of Weaves, and the 
Decomposition and Calculation of 
Broad and Narrow, Plain, 
Novelty and Jacquard Silk Fabrics 

Containing 95 Plates 
By ARNOLD WOLFENSBERGER 

Graduate of the Textile Institute of Zurich, 
Switzerland 

nan 

Second Revised and Enlarged Edition 

U □ D 

NEW YORK 
Issued by THE AMERICAN SILK JOURNAL 

CLIFFORD & LAWTON 

Publishers 
1921 






COPYRIGHT, 1921, by CLIFFORD & LAWTON 

All rights reserved 



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I'iiid 



GROLIER CRAFT PRESS. Printers. 229 West Twenty-eighth Street. New York City 



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PREFACE 



THE silk industry of America has of late years rapidly ad- 
vanced to the front rank among the great textile industries 
of the world. It may indeed be proud of this position, to which 
that enterprising spirit and untiring energ}- peculiar to our 
nation, combined with our great technical and natural re- 
sources, has brought it. 

That we are, on the other hand, not yet at the height of 
perfection we are also compelled to acknowledge, but if we 
consider the short space of time that the American industry 
has required for its development, as compared to the decades, 
almost centuries, to which some of the great European silk 
centers can look back, the fact is neither surprising nor dis- 
couraging. 

While it must not be our aim to imitate or copy their 
ways, inasmuch as our conditions and circumstances are quite 
different from theirs, we may still profitably study their meth- 
ods in order to overcome our deficiencies. 

The greatest advantage which our competitors derive from 
such a long existence consists in having at their disposal a 
force of skilful, trained help. The manufacturers, appreciating 
the importance of this factor, make great efforts and pecuniary 
sacrifices to elevate and maintain the high standard of their 
industry. 

For instance, they support textile schools and lecture 
courses, where young men can acquire a thorough technical 
education and equip themselves for a career of usefulness, 
thereby serving their own interests and at the same time fur- 
thering those of their chosen profession. 



This beneficial influence cannot fail to exert itself from 
the standard of the higher employer down to that of the 
weaver, who wotild naturally take more pains and interest in 
his work than if he were a mere mechanical appendage to his 
loom in order to keep it in motion. 

Very little has been done in his country for technical 
education as far as the silk industry is concerned, and it was 
this circumstance, as well as the absence of technical literature 
on this special branch, that prompted the author to offer in 
the present little work a treatise on the theory of shaft weaving 
for broad silks and ribbons. 

It is divided into three principal parts : 

1st. Drawing-in the warp in the harness. 
2nd. The weaves and their application. 
3rd. Decomposition or analysis of the cloth. 

To the foregoing there have been added in the revised 
and enlarged edition several additional parts covering the fol- 
lowing: Jacquard Weaves, Box Loom Weaves, including 
Crepes, and Cost Calculations for plain and fancy weaves. 

The subject while condensed, is made as clear and com- 
prehensible as possible, and to many desirous of increasing 
their knowledge in this direction, this should prove a valuable 
help. 

The author, through the medium of this work, hopes to 
win the approval and encouragement of the manufacturers, 
and will feel amply repaid should his efforts tend to develop 
a deeper interest in the "Queen of Textiles." 



THEORY OF SILK WEAVING 

DRAWING-IN 

With this term we designate the operation preceding the 
weaving, by which all the warp-threads are drawn through 
the heddles of the harness. 

The order in which this is done varies according to the 
weave and the nature of the fabric to be produced; so we 
distinguish : 

Straight draws, 
Skip draws, 
Point draws. 
Section draws. 



STRAIGHT DRAWS 




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These form the simplest and most common method of 
drawing-in. We begin with the first heddle on the left side 
of the shaft nearest to the warp-beam, then take the first heddle 
of second shaft and so on until all the shafts the set contains 
are used in rotation. This completes one "draw," and this 
operation is repeated until all the warp-threads are taken up. 

The method of making the shaft nearest to the warp- 
beam the first, is almost universal with the silk business and 
is technically called drawing-in from back to front. 

The opposite, or drawing in from front to rear, is used 
occasionally, however, and in this case makes the first heddle 
on the left hand side of the front shaft No. 1. 

The making out of the Drawing-in Draft, which must 
indicate the arrangement or the rotation in which the warp- 
threads are drawn in, can be done in various ways, of which 
we will mention the two most popular methods. The first is 
by using common designing paper, and indicating the rotation 
by dots. The horizonal rows of squares represent the shafts, 
the vertical rows the warp-threads. Fig. 1 shows four repeats 
of a straight draw on six harness marked out according to 
this idea. A second method is to use paper ruled horizontally, 
the lines representing the shafts ; and to draw vertical lines 



for the warp-threads. The latter are made to stop on the 
hnes bearing the number of the shafts into which the respec- 
tive threads are to be drawn. Fig. 2 is such a draft, illustrating 
six repeats of a draw on four harness from. "Front to Rear." 



SKIP DRAWS 



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Fig. 4 



The draws coming under this heading are used very ex- 
tensively in silk weaving, especially for fabrics requiring a 
heavy warp and a large number of shafts. Enter first the 
odd and then the even shafts. An 8 harness draw of this 
kind, of which three repeats are shown in Fig. 3, runs as 
follows: 1, 3, 5, 7, 2, 4, 6, 8. 

Fig. 4 is a 12 harness draw of the same class. 



POINT DRAWS 



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Point draws are a combination of a regular straight draw 
from back to front and one from front to back, the tirst and 
the last shafts onlv being used once, while the rest receive 
two ends each in one repeat of the draw. Fig. 5 illustrates 
a regular point draw in 2 repeats on 10 shafts. It will be 
seen that 14 ends make a repeat ; in fact, the number of warp- 
threads required for one draw will always be double the num- 
ber of harness less 2, hence a 12 harness regular point draw 
will require 22 warp-threads for a repeat. 

The drawing-in draft illustrated in Fig. 6 is a slight vari- 
ation of the regular point draw ; it consists, as will be seen, 
of a draw from back to front, and also a full one from front 
to back, thereby causing a double point. 

Another change from the regular point draw is illustrated 
in Figs. 7 and 8 ; this class may be called Broken point draws, 
because a new draw is begun before the other one is complete. 
Fig. 9 also comes in this class and represents a zigzag draw on 
10 harness. 

The drawing-in drafts which we have described under 
the head of "Point draws," are used mostly to obtain the 
various pointed and zigzag effects. 



SECTION DRAWS 




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This division of drawing-in drafts is used extensively in 
silk manufacturing ; for instance, in all fabrics having a ground 
warp and a binder warp, also in double-face goods, or where 
two different weaves are combined in one effect. 

One or more threads are drawn on the first section, then 
one or more on a second and third, if the harness is divided 
in so many sets. 

The following examples will illustrate the principle of 
these draws : 

In Fig. 10, shafts 1, 2, 3, 4 from the first set, shafts 5 
and 6 the second, 8 threads are drawn straight on the first, 
then 2 on the second section. 

Fig. 11, first set shafts 1 to 6 inclusive, second set shafts 
7 and 8. 

Fig. 12 is drawn end and end on two sections having 8 
shafts each. 

Figs. 13, 14 and 15, while not strictly belonging to the 
class of section draws, may, however, be considered under 
this heading. The idea is to draw a certain number of ends 
in one part of the harness and another group in another part, 
be it straight, point or skip, which will cause the effect on the 
cloth to be accordingly transposed or broken up. 



*?^*s* 



15 



THE WEAVES 
AND THEIR CONSTRUCTION 



In any woven fabric we distinguish two systems of 
threads, the Warp or CJiain, running lengthways in the cloth, 
and the Filling or Weft, crossing the former at right angles. 

This crossing or interlacing consists of every individual 
warp-thread being placed alternately under and over one or 
more threads of the filling system. The arrangement of this 
interlacing is technically called the U^eave, and the variety 
in which the points of crossing can be distributed is prac- 
tically endless. 

It is principally the weave that lends to a fabric its char- 
acter, influenced, of course, bv the material used, the size and 
tension of the threads and the combination of the colors. 

The weaves are divided into three main classes : the 
Foundation zi'eoz'es. In the silk business thev are known 
under lhe following names: 

The Taffeta Weave, 
The Serge Weave, 
The Satin Weave. 

In the foundation weaves each thread effects only one 
crossing in one repeat of the weave, and the points of inter- 
lacing occur in a given rotation. A repeat in the foundation 
weaves comprises the same number of warp-threads as of 



16 

picks or filling threads, and if this number is 8, for instance, 
the weave is called an 8-shaft or an 8-harness weave. In 
marking out a weave, the warp-threads are represented by 
vertical lines, the filling by horizontal ones, or in each case 
by the space between these lines. The places where a warp- 
thread lies over the filling are marked with paint or simply 
with a cross. In a similar manner we mark out the chain 
draft, which indicates the rotation in which the shafts are 
raised. 



17 



THE TAFFETA WEAVE 



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18 

This is tlie simplest and oldest method of interlacing. 
The odd numbers of warp-threads cross the even numbers 
after every pick; hence of two warp-threads one will always 
go over the first pick and under the second, and the other 
end under the first and over the second pick. Taffeta cloth^ 
therefore, has the same appearance on both sides, and in cot- 
ton and wool weaving this weave is technically — and properly 
indeed — called the Plain Weave. It has the smallest repeat, 
2 warp-threads and 2 picks, and the exchanging of warp and 
filling is the most frequent possible. The cloth thus produced 
is firmer and stronger than that obtained with any other weave. 

Fig. 16 is a taffeta on 4 shafts straight draw, the draft 
executed in the manner which we have already mentioned 
in explaining the drawing-in drafts. 

Fig. 17 on common designing paper, illustrates a taffeta 
made on 8-harness, skip draw. 

Be it mentioned that the drawing-in draft and the chain 
draft will be added throughout this work, the former over the 
weave to correspond with the respective warp-threads, the 
latter to the right of the drawing-in draft. 



19 



GROS DE TOURS WEAVES 



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In this weave the working of the warp is the same as in 
taffeta, except that instead of one pick, two or more are in- 
serted in the same shed. It is mostly used in selvedges, where 
it serves to give more nrmness to the edge of an otherwise 
loosely woven cloth, and prevents the weaving ahead of the 
edge in a tight weave. Gros de Tours is sometimes used, 
especially when cotton or wool filling is employed, with a 
view to lay two picks nicely side by side, whereas a thread 
entered two ply with the taffeta weave will always receive 
some twist, which may disturb the perfect evenness of the 
fabric. 

Fig. 18 i^ a Gros de Tours with two picks on four harness 
straight through. 

Fig. 19 illustrates this weave with three picks drawn end 
and end on two sections of four shafts each. 



20 



SERGE or TWILL WEAVES 



While the taffeta weave produces either an entirely 
smooth fabric, or one with a distinct transverse rib as in gros- 
grain, the twill weave forms diagonal lines on the cloth, run- 
ning either from left to right or from right to left. 

To make a twill, not less than three ends and three picks 
are required, of which each thread floats over two of the 
other system and interlaces with the third. The rotation of 
the interlacing is always consecutive, that is, it moves with 
each succeeding pick one thread to the right (or to the left 
if the lines are to run in that direction). If warp and filling 
have the same texture, that is the same number of threads in 
a given space, the twill lines will form an angle of 45° ; if 
the warp stands closer than the filling, the incline will be 
steeper, and in the opposite case the angle will approach more 
the horizontal. 

The weaves can be expressed in numbers, for instance: 
the 3-end twill warp effect would be marked 2-1, which indi- 
cates that each warp-thread goes over two and under one pick. 

Twill weaves are called evensided when the arrangement 
of "warp up" and "filling up" are evenly balanced, and 
unevensided if either warp or filling predominate on the face 
of the fabric ; the latter class is therefore subdivided in Warp 
effects and Filling effects. 

In the following a number of serge weaves are illustrated, 
the French designations being added in some cases, as they 
are still extensively used in the trade. 



21 



FILLING EFFECTS 



Satin de Lyon, 2-\. 

On 6 harness straight through. 




Fig. 20 



Levantine, 3-1. 



On 8 shafts skip draw 




Fig. 21 



22 

Polonaise, 5-1. 
On 12 harness skip draw. 




Fig. 22 



Serge grosse cote, 7-1. 
On 8 shafts straight through. 



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Serge roinaine, 6-2. " 
On 8 shafts skip draw. 




Fig. 24 



Serge, 5-1, 1-1. 
On 8 shafts skip draw. 




Fig. 25 



24 



Serge, 4-2, 1-1, 1-1. 
On 10 harness straight through. 




Fig. 26 

Serge, 7-1, 1-1, 1-1, 1-1, 1-1, 
On 16 shafts skip draw. 




Fig. 27 



25 
WARP EFFECTS 

Levantine, 3-1. 
On 4 shafts straight through. 




Fig. 28 



Serge, 5-1, 1-1. 
On 8 shafts skip draw. 



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26 



EVENSIDED TWILLS 



Surah, 2-2. 



On 4 shafts straight through, 




Fig. 30 



Croise, 3-3, 2-2, 1-1. 
On 12 shafts straight through. 



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Fig. 31 



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Serge, 7-7, 1-1, 1-1, 1-1. 
On 20 shafts skip draw. 




Fig. 32 

POINTED TWILLS 

in the direction of the filhng and also of the warp. 



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On 4 shafts point draw, weave 3-1 



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On 6 shafts point draw, drawn as follows : 

Eighteen ends from back to front and 4 ends from front 
to rear, weave 5-1. 




Fig. 35 



On 8 shafts pointed draw, weave 5-1, 1-1. 



29 




Fig. 36 

On 10 shafts, with weave 3-3, drawn as follows 

7 threads from back to front. 

3 " " front to rear. 

6. " " back to front. 

2 *' '' front to rear. 




Fig. 37 



On 6 shafts straight draw, pointed weave 5-1 



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Fig. 38 



On 8 shafts straight through, pointed weave 5-1, 1-1 



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Broken pointed tzvill, on 8 harness. 



31 




Fig. 4 

On 6 shafts point draw, 




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On 8 shafts point draw, pointed weave 5-1, 1-1 



32 




Fig. 42 



Fancy twill, on 16 shafts straight draw. 



SATIN WEAVES 



The distinct diagonal hnes which characterize the class of 
weaves explained in the previous chapter are absent in the 
satin weaves; and while the interlacing in the former is done 
in a strictly consecutive order, we endeavor to scatter the 
points of stitching in the latter as much as possible, in order 



33 

to create an entirely smooth and brilliant surface on the cloth. 

In all satins the number of ends in a repeat is the same 
in warp and filling. 

The lowest repeat of a regular satin comprises five threads 
of each system, and the interlacing is done in the following 
order : 

The 1st pick with the 1st warp-thread 

" 2d " " 3d 

" 3d " " 5th 

- 4th " " 2d 

" 5th " " 4th 



Fig. 43 illustrates this weave. An examination of the 
rotation, as given above, w^ill show that every warp-thread 
intersects two picks apart from its neighbor. The number 
"2" is in this case what is technically known as the counter, 
that is the number which indicates the points of interlacing 
by adding it to number 1 and continuing so until all the warp- 
threads are taken up. 

The following is the rule to find the counter for any 
regular satin: 

Divide the number of harness into two parts, which must 
neither be equal nor have a common divisor. Any of these 
two numbers can be used for counting off, but usually the 
smaller one is taken. According to this rule we obtain a 



5 harness with counter 2 



gular satin 




On 


5 




7 




8 




9 




10 




11 




12 




13 




14 




15 




16 



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3 




2 or 4 




3 




2, 3, 4 or 


5- 


5 




2, 3, 4, 5 


or 6 


" 3 or 5 




2 4 or 7 




" 3, 5 or 7. 





34 

The 4 harness broken twill, Fig. 53, is sometimes classed 
among the satins. 

The 6 harness satin, Fig. 54, is irregular ; as a counter 
cannot be derived from number 6 by the given rule. The 
rotation generally used is 1, 3, 6, 4, 2, 5. 

Regular Satins 

5 harness Satin, ''Satin de Chine." 
Straight drav^, counter 2. 




Fig. 43 



7 harness Satin, ''Satin Merveilleiix." 
Skip drav^, counter 2. 




Fig. 44 



35 

7 harness satin. 
Straight draw, counter 3. 




Fig. 45 



8 harness satin, "Duchesse." 
Skip draw, counter 3. 




Fig. 46 



36 

9 harness satin. 
Straight draw, counter 4. 



s 



1 

— 1 ■)- 



'!•; 



t 



I 

:± 



;:[ 




-Tt 



t- 



s 



Fig. 47 

10 harness satin. 
Straight draw, counter 3. 



ill 



';: 



;!;: 



i 



:!:; 



Fig. 48 



Z7 

11 harjiess satin. 
Skip draw, counter 5. 



B 



!i 



Fig. 49 

12 harness satin. 
Skip draw, counter 5. 



im 




I;;:;:;:;:;;!;;:;: 


1 

i:::±:::!l:::::ij::: 


H U PI 
1 

::::i:±:.±::::i::: 


lli=lr^ 


::::|:;:!.;:;.|: 


;;:.;::::;::.::::'!: 


-::::::::-:- 


__J^ 


.„.».p.-i.— i.j 




r^ _ H 


:i::::::: :::::::::: 
__ 1 

hi::::::::::::::::: 


--'±4-1-—'-"— 

lii'iffiir:^':;:: 


i::::±::::::::::::: 
' -t- -f 



Fig. 50 



38 

16 harness satin. 
On 2 sections of 8 shafts each, drawn end and end, counter 7. 



wuui||||||||iwuii|||i|ii 


lllli iiiiiiy!|iiiiii||||H 

1 1 


t::±: i: 


i--±::: 


rt t ---'-I j:+- 


1 


_-:_:t:i::::::::~::::':i:~: 


::j::±::: :i:± 


i.lt 1...^..^!^ 


„.: JL 


t:::::: t--C -"-i^---"'- 


:::::"":::: ""TX"^ 


.T T \__t _ 


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.J ±_ i 


i i 


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■ ■ 




irt IT"' 


"" iTT------ ---- 


J 


IT 


:::::::::::. :i::::: — i" 


: jilt:::::::: 


:_:_::_::::::::::: :::: : 


:::::±::t:::_: :_:_:: 


























:::::::: jl::::::::::: ::i:: 




,,jt '., JL 1 








::::ilJ:::_:::::::5::::::_ 




: _ir 


|l::±::::::_l:::-: ::::::::: 


:::::jl :_:___:::__: jl::._ 




::::::':„::::::t-----'";"- 


■ 


, J JL„ 




X - -^ - ■ jt---"' 




:'::::::::c:: ::'::::::::i: 




.__jr_T___ X I 




_ :: : : ji: 1: :::::: 




: i :: i :: : 


__ 


-r + - ----k 


^x;;:^^:;;;::;:^;;;;;:;;^^^^^:;; 






■ ■ 




:::::: jt:::: :::::: jt: 




:::i::::_:::::: :: i::::::_:" 








^ ^ ^ ; JL ^ ::: ^ :::;:: ^ JL : ^ ;;: ! 




T! : !! !:X-------I- -■ 


X" !"":""":""": 


,._T.ir it 


T __ 


n 


rl 


■ 




JL-"-I-I"I"-III"III " - 




^ ^^ ^:^i.: :^:^^::: : JL 




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i__ 


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1 iT 


::i:::::::::::::::::::::::::: 


.i;:;::S::::::;!i;::;;!:i:: 





Fig. 51 



39 

8 harness satin, warp effect. 
Straight draw, counter 3. 




Fig. 52 



IRREGULAR SATINS 

Satin Tiirc. 
On 4 shafts straight through. 




Fig. 53 



40 



So tin a la Reine. 



On 6 shafts straight draw 



K 



.; 



:"i±: 

COT 



S 



i! 



IJ 




■ niiM 



i 



Fig. 54 



41 



DERIVATIVE WEAVES 

1. From the Taffeta 

Royale is a modification of the regular Gros de Tours, 
inasmuch as the rib line, which in the latter runs straight 
across the cloth, is broken off after a given number of warp- 
threads. These groups, which may comprise 8, 12 or more 
threads, will interlace each one pick higher than the preceding 
one. 

Royale of 8 ends. 
On 2 sections of 4 shafts each. 




HHffiffiSa 



■ ■■« ■■■■.■'■«■ ■■■■■■■■ 
■ -■ ■■ m-m • ■■■■■■■■ ■■■■■■■■ 



fl .■ ■. .■ ■■■«'«■ ■.'■■-'■ ■-■■■■■■■■■ 



Fig. 55 



Velours Ottoman or Faille franeaise. 

In order to obtain a broader rib than that of Gros de 
Tours, and at the same time to lend firmness to the fai)ric, 
we add to the ground warp, which forms the ribs, another 



42 



or binder warp, which works continually taffeta, while the 
ground warp changes only e\ ery 3 or 4 picks for the rib. 



Faille francaise. 

4 ends of ground on the first section of 8 shafts, skip draw. 
1 " binder " second " 2 " 




Fig. 56 



Velours Ottoman without a Binder-warp. 

In this weave, of which Fig. 57 illustrates a specimen, 
comprising 8 warp-threads and 32 picks in a repeat, the rib 
contains 4 picks. Of the 8 warp-threads, 3 float over and 3 
under the rib, while the 2 others bind taffeta, which latter 
function is executed by 2 other threads in the next rib. 



43 









■■■■ ■ .1 ^ ■■■■ 


II ■■■■■■■' ■■■■■I IIHIIII ■ 1 


■HI Ilii i I HH 


RJ 'J LMIJIII 


i.i Mil nil 1 i 


. __i, 1 MK... 


1 1 i IHl nil 1 1 


P r n im 


■111 .11 Mil im 


I ri nn WW 


»■■ ■ 1 HI! 


k ■■■■■■! .1 ■■■■■■ .1 ■■■■■■■■ ini 


Ill nil ■ ■ nni 


1 1 llll 


■ill 1 1 iin 1 1 1 






- - - - 








"■iB"^n~HiB"^n 1 ■jr 1 


1 






'■■~^n~'i~Hi iM 11 1 




- i^HnB nrvntf" 




4 ^n 1 fl ^n 1 




■LHi 1 ■"■■'■' 




mt^h ■ tU^JI 


l.mmmml^mmm.. 


■i^^iBnH^^|^Tn|n^r 




rS~iH~^MH ■■ ^n 




^■^■'■■"1' ^■'Hf' 




^ pfl BM ■■ WM pPj 




■^■^li^T^MBliB" 




■T™ ^^ ■Ji^U^L 




' ^B* ^■^B«'«^^Hi^r 




■ ■"^^'■1 ■■ W^ 


1 


mii^^rmtr\^^^M 1 


_ Jl _ L it-. 


|H I I ■■ I 1 ■■■■■■■■ ■■■■■■■1 




i I ■■ I 1 ■■ I ■■■■■■■■■■■■■■■I 




1 1 H^^H ■ 1 ■ I^H H 1 M 1 1 1 1 1 1 1 1 1 1 1 1 




itt^n^^l^wt^T^^wfl 1 




j 1 1 1 !■ ^n ■ ■■ 


1 


1 Hi ■ II Hi I ^H 


Jl T 


I pr ■ Ml p^JLjH 


1 


MPOrMl^lfri^Mfl 


' 


1 Hi ■■^■■1 ■"■^B r 








1 n ' i^B ^n ■ ■■ j 1 




Tirtini^^flp^^^j 


T 


fl ^^'~' ■^' ^r 1 H 1 




~H~flB 1 n li 1 1 J j 




H ^R wiiS "■ 1 U I" 









Fig. 57 



2. From the Twills 

One variety is obtained by interlacing the warp-threads 
alternately one or more picks behind, and then a number of 
picks ahead of their respective neighbors; so the complete 
arrangement of the points of binding in a repeat will gen- 
erally form two parallel diagonal lines. This will cause the 
twill lines to appear less pronounced than is the ■ case in 
the regular twill, and the character of the fabric approaches 
more that of the satin. 



44 

Sal in Serge. 
On 8 shafts, straight draw. 




Fig. 58 

Cote Saline e. 
On 16 harness, skip draw. 




Fig. 59 



Rhadzimir-Surah 2-2. After a certain number of picks of 
the regular surah all the warp-threads are crossed in two's, 
thereby causing a sort of a rib or cut line across the fabric. 



45 



Rliadciniir of 4 ficks. 
On 8 shafts, straij^ht draw 




Fig. 60 



RhcdzUnir of 6 picks. 
On 8 shafts, straight draw- 




Fig. 61 



46 



3. From the Satin Weave 



Satin Soleil shows a satin-like surface with a cross hne 
appearance. Fig. 62 illustrates it as made on 8 shafts, 
straight draw. 




Fig. 62 



Satin Grec is a 12-harness satin, in which a taffeta point 
is added to each place of interlacing, thus giving the cloth a 
much firmer hand. Fig. 63 represents this weave on 12 shafts, 
skip draw. 



47 




Fig. 63 



Peait de Sole. An 8-shaft satin with one point added on 
the right or left to the original satin spots, giving the fabric 
a somewhat grainy appearance. Fig. 64 represents a peau 
de soie on 8 shafts, straight through. 




Fi?. 64 



48 

Fleur de Sole. The face is a satin de Lyon (2-1 twill), 
with a backing- interlaced on the 12-shaft satin principle, Fig. 
65, on 12 shafts, skip draw. 




Fig. 65 



49 



CANNELE and REPP WEAVES 

are in their construction related to the taffeta, and are used 
mostly in the form of stripes as an additional ornament to 
a fabric. The threads going into the composition of these 
effects exchange continually from taffeta interlacing to float- 
ing over a certain number of threads, and must be introduced 
either in warp or filling close enough to make the floats cover 
up the taffeta work entirely, and thus enable the material used 
to show up with the full brilliancy it possesses. 

Cannele effects can be produced in two distinct ways. 
One is to let every individual thread work alternately taffeta 
and float, while in the other method one thread weaves always 
taffeta and a second thread is used for the cannele exclu- 
sively. These latter threads must come from a separate warp, 
which is introduced to embellish the ground or taffeta part 
of the fabric. 

The floating threads can either stitch all on one pick and 
so form a continuous cut line, or be divided in groups, of which 
one will bind in the middle of the floats of the other group. 
The following designs show both the face and backside of the 
respective weaves : 



^0 



Alternating Cannele of 6 picks. 
On 4 shafts, straight through. 




Fig. 65 



Cannele (2 beams). Over 3 picks, interlacing on every 
fourth pick, drav^n end and end on 2 sections of 4 shafts each. 




Firr. 67 



51 

Cannele over 5 picks, binding on the sixth, but every 
second thread advanced 3 picks (to the middle of the float 
of the first thread), drawn end and end on 2 sections of 4 

shafts each. 




52 



Cannele arranged in groups of 8 threads, floating over 6 
picks and binding on the seventh and eighth, drawn on 2 sec- 
tions, with 4 shafts in first and 2 in second section. 




Fig. 69 



Repp on 8 shafts straight through. Rotation of fiUing. 
1 pick taffeta, 1 pick float (rib). 




Fig. 70 



53 

Repp of 8 threads, on 2 sections of 4 shafts each, 8 ends 
per section. 




■. ■' .1 I 
1 1 I I II .1 I 



Fig. 71 



Repp of 5 threads, binding on the sixth ; every second 
pick binds on the middle of the first pick. On 6 harness 
straight draw. 




Fig. 72 



54 



Repp in groups, floating over 6 ends and binding on the 
seventh and eighth on 8 shafts straight draw. 




Fig. 73 



55 

DOUBLE FACED FABRICS 

In this class we tind either two systems of warp or of 
hlUng so combined that only one will be visible on either side. 
The color on one side is generally different from the other, 
and so may the interlacing be of a different nature on face 
and back. In the latter case great care must be exercised not 
to allow the weave on one side to disturb the one on the other, 
and as a rule the points of interlacing of the first warp or 
filling system are placed as much as possible in the middle of 
the floats of the second. This will prevent either color or 
weave to be seen on the opposite side, as the floats of one side 
will naturally lay themselves over the binders of the other. 
The number of ends in a repeat of the two weaves must either 
be alike or one a multiple of the other. 



Warp Ejffects 

Levantine on 8 shafts straight draw. 




" ■ «B»! • .!'! ■ 



11 ■ III I 
III I 



Fig. 74 



56 



Serge 6-2 on 2 sections of 8 shafts each. 



■T -w Tnr 


■ ■ Lipr 


jpT 


" J " jpT 


■r 


4... .JL jL Jl....Ji 


ir ir jm 


..JD 


■MH 


k^^rl 


h^Bfll 


1 ., ^BTUl 




VT^jfl 


P mJ^m 


pr MM 


: : -I- ::::::_::: :::::::::T... 


: ;...;, ,..i::::..i.:: 




:::::::::::::: :::::::::::'::::::::::::::t::: 


■■■■■I 1 1 ■■■■■ ■ ■ I ■■■■■■■■■■■■■■■I 


III I ° 1 1 II III 1 1 i limnmiiiiiiii 


I I 11 iiiii ■ ■ I iiniinHiiiiiHiH 


■ .■'■'■■■■■ ■ ■ ■■■■■■ ■■■■■■■■■■■■■■■■ 


1 I llUi 1 ■ ■ ■■■■■ ■ ■■■■■■■■■■■■■■■■ 


1 1 mil I .11 If ill ■ iiiiiiii ■■■■nil 


1 1 Hill i 11 Hill ■ illlllll illillll 


1 IIIII I 11 mil I 1 ■■■■■■iiiiiiiiii 


mil ■ 11 iiiii 1 i 1 iimmmimi 


■■■ ■ ■■■■■■■■ ■ ■ ■■■■■■■■■■■■■■■■■■ 


■ 1. ._■ i iiiii ■ i ■ iiii ■■■■■■■■ ■■■■■■■■ 


■ .11 mil ■ i i mil iimmiiiiiiii 


1 1 mil 1 11 mil I mmiiiiiimi 


1 1 iim i illillll iimmiiiiiiii 


i 1 mil i 1 1 mil ■ iiiiiiii liiimi 





Fig. 75 

8 shaft satin on 2 sections of 8 harness eacli, 



pp............... ....... _...-. 


__:.__:_::::::::: ::::::±:i:: 


_, :_._::_. It:." . 


> H 


_._ 1. . __ _.|T_ 


t X 




HiiBi 




Wb 


wr^kmM 


JL HfflD 




"^^^H^^H 


~W^^^^^^M 


mrmm 






T _. 




. Ul Ml M 


1 MIITil 1 


imiiyiH 


■ ■ ■ ■ ■ ■ ■■■■■■■■■■■■■■■■■■■ 

■ ■ t ■■■ ■ ■ ■■■■■■■■■■■■■■■■! 

■ ■■■ « i ■ ■ iimmimmi 


1 ■ ■ 1 i III mmiiiimm 


^■■IIHBaHIIMIII IIIII Mil 


ill 1 i 1 1 i immi ■■■■■■■I 


IHHHHHI.BHMMIMIilllllll 


I ■ ■■■ ■ ■ ■ ■■■■■■■■■■■■■■■■ 


1 1 i 1 ■ 1 iimmiiiiimii 


Wf I ■ u u ■ 


IT ill IHI 1 


jitnirn 1 


■ULETLIJIMI,. ,. 



Fig. 76 



•57 
12 shaft satin on 2 sections of 12 shafts each. 

FT 




■■■ ■ ■ "■ ■ 

I I I ■ ' 



I ■ I I.MI 



Mil 



I 



Fig. 7 7 



Cannele of 8 picks on 2 sections of 4 shafts each. 




Fig. 78 



58 



FILLING EFFECTS 



Serge 5-1 on 6 harness straight draw. 




Fig. 79 



10 harness satin on 10 shafts skip draw. 




Fig. 80 



59 



Repp on 2 sections of 4 shafts each, 8 threads per section 




Fig. 81 



6() 
PE KINS 

With this name we designate fabrics in which stripes of 
a different interlacing run in the direction of the warp. In 
combining these weaves it is advantageous to have them con- 
trast distinctly, for instance, a short weave such as tafifeta or 
Gros de Tours, with a longer and looser one such as satin, 
serge or cannele, also changes from warp to fiUing effects. 
Care must be taken to arrange the joining of the two weaves 
so that the last thread of one weave will cross the first thread 
of the other. This will prevent the threads from either stripe 
to slide over into the other, and so make a clean cut line. 



Pekin. A stripe of 



2 dents of 8 ends each, 8 shaft Satin, on 8 shafts straight draw. 
12 " 2 " Taffeta " 4 



(( (t 




mvimmsi 



■■■ imnv ■■■■■ ■ 
■■■■■■■ ' ■■■■■■■ I 



!■■■■ ill! ■■■■■■■■■■■■■■■■ 

■■■■■■ai ■■■■■■■■■■■■■■■■■ 




Fig. 82 



61 



Pekin. A stripe of 

\2 ends Cannele of 6 picks on Ist section of 4 shafts. 

12 '■ ReDD " 6 threads on 2d and 3d section of 2 shafts each. 




Fig. 83 



62 



Pekin. A stripe of 



10 ends S leaf Satin on the 1st section of 5 shafts straight draw. 
4 "" Taffeta " 3d " 2 " 

2d " 6 " 



18 



Serge 3-1, 1-1 




Fig. 84 



63 



BAYADERES 



While pekins are formed by warp stripes, bayadere shows 
us stripes of different weaves running in the direction of the 
filHng. The rules given in the previous chapter as to the join- 
ing of the weaves will also apply here. The warp which was 
raised on the last pick of the weave must stay down wherever 
possible on the first pick of the following weave. The number 
of shafts employed must go up evenly in the repeat of each 
one of the weaves that go into the make up of the bayadere. 

Bayadere 

A stripe of 24 picks Gros de Tours ) our. . • i . .i i 

8 " 8-shaft Satin, °^ ^ ^^^^^s straight through. 



■4 ■■ 
■I 11^ II II II II 
11 II II H II H 

~1 H ~ll II 11 II 
I II II II H II II 

I ■■ ■■ 
■■ »■ ■■ M ■■ U 




Fig. 85 



64 



Bayadere 

A stripe of 18 picks 6-shaft Satin ") 

" 6 " Serge 5-1, >on 6 shafts, straight draw. 

4 " Taffeta, ) 




Fig. 86 



65 
CHECKS AND PLAIDS 

If pekin and bayadere stripes are combined, we o1:)tain 
checked fabrics, and of these an endless variety and pleasing 
effects can be produced with the aid of suitable color com- 
binations. 

Check 

of 16 threads and 12 picks of the 4-end l)roken twill, 
and 16 " " 12 " " Royale of 8 threads, 

drawn on 4 sections of 4 shafts each. 




f;-. 87 



66 



Check 



of 20 threads and 16 picks of 8-shaft Satin, 
" 20 " " 16 " " Taffeta, 

4 " " Surah 3-1, 
drawn on 2 sections of 8 shafts each. 



m>m 




Fig. 88 



67 



DECOMPOSITIO. 



Under the name of Disposition we comprise all those 
points and details which we must ascertain before we can pro- 
ceed with the construction of a fabric. They are: 

1. The weave. 

2. Length and width of the cloth. 

3. The stock and the dyeing thereof. 

4. Reed calculation (number of dents and ends per 
inch and total number of dents required). 

5. Drawing-in the warp in harness and reed. 

6. Texture and arrangement of warp ( warping ticket ) 

7. Arrangement of harness. 

8. Reduction of filling. 

9. Calculation of warp and filling. 

10. Finishing. 

11. Calculation of cost. 



68 
1. THE WEAVE 

If a given sample is to be reproduced or imitated, it must 
be analyzed, and the following hints will greatly facilitate this 
operation to the beginner. 

Cut the sample straight on two sides, and draw out a 
number of warp and filling threads until there is a small fringe 
of perhaps ^ of an inch. This will allow a thread to be raised 
a little for examination, without danger of its falling out of 
the fabric. In most cases it is easier to dissect the filling side, 
that is, the interlacing of each warp-thread in the threads of 
the filling system. With the help of the microscope or count- 
ing glass we can easily determine over and under how many 
picks that thread passes^ and the points of interlacing are ac- 
cordingly marked on designing paper. This being done for at 
least the length of a repeat warpways, we take it out and 
examine the following thread, and so on until the repeat filling- 
ways is complete. It is advisable to ascertain how many picks 
ahead or back of the first examined thread the next following 
one binds before taking the former out. 

A knowledge of the construction of weaves as explained 
in the foregoing chapters will enable us to determine the weave 
of a simple pattern by merely raising a warp-thread with a 
needle on any point of interlacing and counting off how many 
picks apart from this place it makes an impression. 



. 2. LENGTH AND WIDTH OF THE FABRIC 

To the length and width which the finished product is to 
have, we must add a certain allowance for shrinkage and 
taking up of warp during weaving. It may differ from one 
to ten per cent., according to the texture and weave of the 
fabric, and can be ascertained with sufficient accuracy by 
stretching out and measuring a thread of warp and filling and 
comparing their length with the respective measurements of 
the sample to be reproduced. 



69 

3. THE STOCK AND ITS DYE 

Under this heading we must give the particulars as to 
nature, twist, quality and sice of the silk, and the directions 
for the dyeing, whether bright or soiiple, and in what colors, 
also whether to be weighted or not. 

The size is generally ascertained (in practical work) by 
comparing it with other silk of which the exact count is known. 
Another method is to count the number of cocoon threads 
which a thread of the sample contains, adding to that 1/3 or 
1/4, according to the quality of the silk ; the result will be 
the count in deniers. To obtain it in drams divide the latter 
number by 17,^ as 1 dram is equal to 17,^ deniers. 

Suppose we find 20 cocoon ends in a thread of silk : add 
1/3, and we have 26 2/3 deniers, which, divided by 17,^ make 
1,^"* drams. 

As silk is always more or less uneven, it is safer to count 
the cocoon fibers of several threads and to take the average 
thereof. 

It requires the experience of years to judge with any de- 
gree of certainty as to the origin and quality of silk, whether 
it be "classical," "extra," "sublime," etc. 

There are machines wherewith to ascertain exactly the 
twist, that is, the number of turns the silk has received in the 
throwing process. 

In the dyeing w^e distinguish two great classes, of which 
the names themselves give a good definition. "Bright" has a 
brilliant luster, while "souple" has more of a dull, subdued 
appearance. To find out w^hether the silk has been weighted in 
the dyeing process, we may compare it with other silk of which 
the exact conditions are known, or we may burn a small 
quantity of it. Unweighted silk does not burn readily and 
leaves a residue of white ashes, while heavy weighted silk 
burns lively, leaving black, charry ashes. 



70 
4. REED CALCULATION 

We count the number of repeats of the weave in a given 
space, generally ^ or ^ inch, and multiply this with the 
number of threads one repeat contains, which gives us the re- 
duction of the warp. 

Suppose we had a taffeta, which, as we know, has only 2 
ends to a repeat, and counted 30 interlacings per ^ inch on 
one pick ; we would have 60 threads per ^ inch or 240 per 
one inch. In this case the reed may be 80 by 3 or 60 by 4. 

Another instance : In an 8-shaft satin we count 10 warp- 
threads, which bind on the same pick in ^ inch ; this, multi- 
plied by 8, equals 80 ends per ^, or 320 per one inch; the 
reed will be an 80 with 4 in a dent or a 64 by 5. 

In short, the number of the reed is found by dividing the 
number of warp-threads that are to go in one dent, in the 
number of ends per inch. Sometimes, the reed marks are 
clearly visible in a sample by holding the latter against the light. 
Silk fabrics move with very few exceptions within the limits 
of 50 and 90 dents per inch. 

To learn the full number of dents required for the width 
of the cloth, simply multiply the dents per one inch with the 
width, adding a certain allowance for shrinkage. The edges, 
of course, must also be taken in consideration, and very often 
the dents that are taken up by the latter are used to counter- 
balance that shrinkage. 



5. DRAWING-IN THE WARP IN HARNESS 
AND REED 

Here we must specify the number of dents that contain 
the same number of ends, and whether the latter are single 
or double, also the number of shafts and the method of 
drawing-in. 



71 



6. WARPING TICKET 



To make out the warping ticket, we need to ascertain the 
total number of ends, whether leased single or double, and the 
arrangement of the colors. 



7. HARNESS ARRANGEMENT 

This is governed by the number of ends to be drawn in 
and the necessary shafts. If we have, for instance, 100 threads 
per inch to be drawn on 4 shafts, we must give each shaft 
25 heddles per inch. There are generally between 25 and 45 
heddles per inch on one shaft. 



8. REDUCTION OF THE FILLING 

Here we state the number of picks per inch, give direc- 
tions as to doubling, if such is necessary, and if more than 
one color or shuttle is used, the rotation thereof. 



9. CALCULATION OF WARP AND FILLING 

The system adopted in this country for specifying the 
size of silk is based on the weight in drams (avoirdupois) of 
a skein containing 1000 yards. A skein, thus weighing 5 
drams, is technically called 5-dram silk. The number of yards 
of 1-dram silk to a pound must accordingly be 256000. The 
formulas for figuring the amount of silk required for a piece 
of cloth are as follows: 



Warp Calculation 

Multiply: Number of ends X length X count 



= lbs. 



Divide by: 1000 yards X 256 drams 



lbs. 



12 
Filling Calculation 

Multiply: PicksXxplyXwidthXlength of pieceXcoimt 

Divide by: 1000 yards X 256 drams. 

The result in both cases will be in pounds. 

The system of grading the silk which is in vogue in 
Rurope, and which is employed by a number of mills on this 
side, is as follows: 

1 sk'in of 500 meters, weighing 0,05 gram=: 1 denier international 
or 1 " 476 " " 0,053 " = 1 " Turin system 

or 1 " 476 " " 0,051 " = 1 " Alilan " 

The warp calculation, taking the international denier, 
would run : 

ends in warp X length X denier X 0,05 gram 



divided by: 500 meters 

for the filling: Picks per meter X xply X width X denier X 0,05 gram 



divided by: 500 meters 

Result in metric weight, kilograms and grams. 



10. FINISHING 

Give directions as to the process of finishing to which 
the goods are to be subjected, whether to be pressed, calen- 
dered, sized, moired, etc. 



11. CALCULATION OF COST 

If all the foregoing conditions are ascertained, and a 
sample or a piece of the fabric executed, it remains to the 
manufacturer to determine the exact figure at which he can 
produce the article. That this must be done with great accu- 
racy is naturally of the utmost importance, and the calculator 



f 



n 



must know in the first place the raw stock prices, and also be 
acquainted with the details of the manufacturing process and 
the rates of wages paid therein. As a rule, the manufacturer 
establishes a scale of prices covering all the items of labor 
cost, mill expenses, etc., and uses this as a basis for his 
calculations. 

A rule or formula for this operation cannot very well be 
given, as the methods vary in almost every establishment, each 
choosing the one best adapted to its ideas or dictates of cir- 
cumstances and conditions. 



75 



DISPOSITION 1 



Taffeta glace. 




■ ■■■-■■i.iiiii ■■■■ m ■■■■■■■■■■■■■ 
■ .■.■■ ■'/■'.■,■ ■ ■ '.■ ■■■■■■■■■■■■ 



■ III ■ ■' I I I ■■ I 1.1 m.m-M I ■■■■■iiiiiii 

■ I ■ ■ ■ I ■ ■ I T I ■'■■■.,■ ■ ■ ■ .■■■■■■■■■■■■ 

■ ■■■■■■■Ill I -I ■ ■ ■ .1 n 

■ ■ ■ ■ ■ I ■ ■ 1 ■ ■ ■ I ■ I I I I I 






Fig. 89 



76 



Length and Width — One piece 100 yards long, 18^ inches wide. 

Stock and Dye — Warp. — Ital. Organ., ■y^^e deniers == 1,47 drams, 

brown, bright, "/le oz. 
Filling. — Japan Tram, "Vso deniers =; 1,65 drams, 
gold, bright ^Vie oz. 

Reed Calculation — Per 1 inch, 70 dents at 3 single ends. 

" 183/4 " 1313 " 

add 13 " =1% for shrinkage. 



Total . . . 1326 dents. 

Drawing in — 1st edge, 9 dents at 3 double ends. 
Ground, 1308 " at 3 single " 
2d edge, 9 " at 3 double " 

on 6 shafts, straight through. 

Warping Ticket — 1st edge, 27 dou1)le ends, brown. 
Ground, 3924 single " 
2d edge, 27 double " 



Total . , . 4032 single ends. 
Length of warp 110 yards, including 10% for take up. 

Harness -6 shafts, 3978 heddles per 19 inches. 
1 " 35 " « ;^ u 

Reduction of Filling — Per 1 inch, ^""/'w4 picks, 2 ends. 

Warp Calculation — ? lbs. = 4032 ends. 
1 end = 110 yards. 
1000 yards = 1,47 drams. 
256 drams = 1 lb. 

100 = 104 (4% waste). 
4032X110X1,47X104 

= 2,65 lbs., or 2 lbs. 10,4 oz. 

1000X256X100 



n 



Filling Calculation — ? lbs. = 100 yards. 

1 yard = 36 inches. 
1 inch ^ 102 / picks. 
2 I ends. 
1 pick = 19 inches. 
36 inches = 1 yard. 
1000 yards = 1,65 drams. 
256 drams = 1 lb. 

100 = 108 (8% waste). 
100X36X102X2X19X1,65X108 

= 2,73 lbs., or 2 lbs. 11,7 ozs. 

36X1000X256X100 



79 



DISPOSITION 2 



Surah 3-1 




Fig. 90 



80 

Length and Width — 1 piece 50 yards long, 23^2 in. wide. 

Stock and Dyeing— W^arp.—Ital. Organ., 1,30 drams = ^Vzi deniers, 

black, bright, "Voo % = ''Ai ozs. 
Filling. — Cotton No. I2O/2 black. 

Reed Calculation — Per 1 inch, 80 dents at 2 single ends. 
" 235^ " 1880 " 

add 36 " = 2% for shrinkage. 



Total . . . 1916 dents. 

Drawlng-in — 1st edge, 8 dents, 2 double ends. 
Ground, 1900 " 2 single " 
2d edge, 8 " 2 double " 
on 4 shafts, straight draw. 

Warping Ticket — 1st edge, 16 double ends, black. 
Ground, 3800 single " 
2d edge, 16 double " 

Total . . . 3864 single ends. 

Warp 54 yards long ^= 8% for take up. 

Harness — 4 shafts, 3832 heddles per 24 inches. 
1 " 40 " " 1 " 

Reduction'of Filling — Per 1 inch, 120 picks, 1 end. 

Warp Calculation — ? lbs. ~ 4264 ends. 
1 end = 54 yards. 
1000 yards = 1.30 drams. 
256 drams = 1 lb. 

100 = 104 (4% waste). 
3864 X 54 X 1,30 X 104 

= 1,10 lbs., or 1 lb. 1,06 oz. 

1000 X 256 X 100' 



81 



Filling Calculation-? lbs. = 50 yards. 
1 yard = 36 inches. 
1 inch = 120 picks. 
1 pick ^ 24 inches. 
36 inches ^ 1 yard. 
840 yards = 1 skein. 
(No. 120/2) 60 skeins == 1 lb. 

100 = 110 (10% \vaste). 
50X36X 120X24X 110 

= 3.14 lbs., or 3 lbs. 2.24 ozs. 

36 X 840 X 60 X 100 



83 



DISPOSITION 3 



Satin Diichessc. 



m 


IH 

BtH 

!!l':i ::!!:!:! ::i-i 

mIIIIIIIIIIII 



Fig. 91 



84 



Length and Width— One warp 300 yards long, 10 pieces of 60 yards 
23 inches wide, 2 pieces in width, with one cut edge. 

Stock and Dyeing— /j'^;'/). — Ital. Organ., I'Vioo drams, black, bright, 

20/22 oz. 

Filling. — Jap. Tram., T/io and 2'/io drams, black, 
sonple, 40/44 oz. 

We should use for this fabric 1 end filling, 5-thread, 4Vio 
drams, but as we have none of this size on hand, we take: 
1 end, 2 thread, iVio drams, and 1 end, 3 thread, 2 '/lo drams. 

Reed Calculation — 1 inch, 66 dents, 4 single ends. 
46 " 3036 " 

54 " (1^% shrinkage). 



Total 
Drawing- in — 



3090 dents. 



1st edge 



■{ , 



Ground, 1514 



2 dents, 6X2, black. 

3 " 4X2, white. 
4X1, black. 



Cut edge, 



Ground, 1514 



2d edge, 



2 
13 



6 X 2, " 

2X4, " 
empty. 

2X4, " 

4X1, black. 

6X2, black. 
4X2, white. 



Satin on 8 shafts, straight draw. 

Cross-thread for split edge on 3 shafts, see design. 



Warping Ticket — 



Edge, 



^ 



1 
Ground, 

Edge, -j 



''A black. 
"A white. 
'"'Vi black. 
"A white. 
'V2 black. J 



y twice over. 



12208 ends black, j 318 yards long. 
416 " white, ( = 6% shrinkage. 

V4 black for ground thread, 300 yards long. 
'A " " whip " 360 " 

each one on a separate little roll. 



85 

Harness — 8 shafts, 12368 heddles, 47 in. 
1 '• 33 " 1 " 

for the spUt edge 3 shafts, of which one has only half a hcddle. 

Filling — Per 1 in., 80 picks, 2 ends (as described before). 

Warp Calculation — ? lbs. = 12224 ends, black (416 white). 
1 end = 318 yards. 
1,000 yards = 1,55 drams. 
256 drams = 1 lb. 

100 = 104 (4% waste). 
(416) 12224 X 318 X 1,55 X 104 

= 24,477 lbs. org. black. 

1000 X 256 X 100 = 0,833 " " white. 

Filling Calculation — ? lbs. = 300 yards. 
1 yard = 36 inches. 
1 inch = 80 picks. 
1 pick = 47 inches. 
36 inches = 1 yard. 
1000 yards = 4,5 drams. 
256 drams = 1 lb. 

100 = 108 (8% waste). 
300 X 36X 80 X 47 X 4,5 X 108 

= 21,414 lbs. 

36 X 1000 X 256 X 100 



87 



DISPOSITION 4 



Armiire Satinee. 




Fig. 92 



88 

Length and Width — One piece 60 yards long, 19 in. wide. 

Stock and Dyeing — Warp. — Jap. Organ., 1,48 drams, black, bright, 

''Ao oz. 
Filling. — 3 threads Jap. Tram., 2,95 drams, black, 
bright, "V26 oz. 

Reed Calculation^ — Per 1 inch, 60 dents X 4 single ends. 
" 19 " 1140 " 

32 " (3% for shrinkage). 



Total . . . 1172 dents. 

Dra wing-in — 1st edge, 12 dents X 4 double. 
: Ground, 1148 " X4 single. 

2d edge, 12 " X 4 double. 

on 12 shafts, straight through, 
or on 6 shafts, as design indicates. 

Warping Ticket —1st edge, 48/2 black. 
Ground, 4592A " 
2d edge, 48/2 " 



Total . . . 4784 single ends 64 yards long. 

= 6y2% for take up. 

Harness — 6 shafts, 4688 heddles per 19]^ inches. 
1 " 40 " " 1 

Reduction of Filling — Per 1 inch, 104 picks, 2 ends. 

Warp Calculation — ? lbs. = 4784 ends. 
1 end = 64 yards. 
1000 yards = 1,48 drams. 
256 drams = 1 lb. 

100 = 104 (4% waste). 
4784 X 64 X 1,48 X 104 

= 1,84 lbs., or 1 lb. 13,44 ozs. 

1000 X 256 X 100 



89 

Filling Calculation — ? lbs. — 60 yards. 
1 yard = 36 inches. 
1 inch = 104 ) picks. 
2 > ends. 
1 pick = 19^^ inches. 
36 inches = 1 yard. 
1000 yards = 2,95 drams. 
256 drams = 1 lb. 

100 = 108 (87c waste). 

60X36X104X2X19,5X2,95X108 

— = 3,03 lbs., or 3 lbs. 0,48 ozs. 

36X1000X256X100 



91 



DISPOSITION 5 



Surface Printed Armiire. 



"■TT-T" IJ ' ' TTK 


TTTT T — IJUUyHH 


7,T »L ■ 8 


i F TKHti 


Ji-i. jl4:.:.::_j:± :j:::::i::::: 


1 1 J 1 TalirB^n 


nl ~ rsj m_ 


nil iiiiiiii nil 1 1 111 


I. i i I. 


IIIIIIIMIIIIIII 1111 1 




M 1 1 ^" ■ ■ ■ ^ 






:::::::::_: iii± 


1 L IJJ rnAr^ 


::.:: :: ::: : _r :::: 


.iiiniiHiiiiiii 1 111 


,z __. ^ Jl 


K II IIIIIIII nil if 1 1 ■ 1 


: i:::: :::±": fi — :::: 


11 1 IIIIIIII inn iiil 


,.,.,, ± 1 :„±-i::- ,:„ 


■■■ ■■■■■■■■■■■■ ■ ■ ■ ■! 


PCTl T 


^1 _LJ¥ lJ»_LrTl 


jtp 


UL W^L tfjl 


— — - -_ _ 


PLP. Htfl'.JflJ 




IVb f^i WV 


:::::: ::::::::: ::::::ii:_:::::::: 


:::± :__.4:...::T::4 


d. t ±±....±...: 


.±x ± t,A 


1 I ■. V ■ ■ ■ ■ . . ■ ■ « ■ 

It. ■« r i J ■ 11 ■ « I 


■ ■ t 1 nimnnn ■■■■■■■■ 1 
1 1 Inn IIIIIIII iiiiiiiil 


■ ■■ i « 1 1 I 11 III 


^K\n\ 


.1.1 J 1 1:1 . 1 1 1.1' ■ a I 1. 1 


wKrnm 


1 1 ■ 1 1 1: ■: 1 i 1 111 1 


Hlnff 


«.■- » "■ ■ -.■'.■ >!■ ■ ■» ^1 




1 IK ■■ ■ ■ ■ ■ « ■ ■■ 




.«_! 1111 '.111 M '11 


^juVV 


II till 1 1 1 1 11 


XpUJI 


I.I 11 1111 1 r 1. 1 


r¥lnn 


1 1 ''1.1' 11 ' 1 1 11 -i.r 
1 1 ■'1 ' ■ ■' ■' « ■ ■.■■.■. 


1 1 t liiii IIIIIIII IIIIIIII 

IB III ■■■■ ■■■■■■■asamcHi 1 

■ iB ■ . 1 nil ■■■■■■■■ ■■■■■■■■ 1 


I 1 11 .11 11 11 11 > 1 


H^HH ■ 1 


.1 ir 1 VI' IK ^l.l':n»l. I 


t^^lH H 1 


■ Si I 11 111 I 11 1 1 


ri^^HlTl 


b 1 MTl'K-P ' lll.l:v 111! 


^^^W B B 


1 B. ;«' ~»A ■'« 1.9 - 11 :■■ 


^^^^wf^M 


R fll' 11 ' » M ■> .1 1 I 1.1 


w[r^lf\wr'^' 


I I 11 I.i t 1 11 11 


■ ^1 ■ ■ 


i 1 111 i> • i 11 1 1 




VV AM 'KM 1 1 -1 ■ 11 


III uiii IIIIIIII niiiiii 


!1A» V. .V v..*/ 


I ■ 1 mil ■■■■■■■■ ■■■■■■» 


■ ■■■luiiJiMiiniiin.mi 



Fig. 93 



92 

Length and Width — One piece 50 yards long, 18^/2 in. wide. . 

Stock and Dyeing — ff «;/'. — Ital. Organ., 1,50 drams, "V..6 deniers, i 

white bright, pure dye. 
Filling. — 5 thread Ital. Tram., 4 drams, "/u 
deniers, white, bright, pure dye. 

Reed Calculation — Per 1 inch, 52 dents, 2X2. 
" \Sy2 " 962 " 

20 " (2% for shrinkage). 



Total . . . 982 dents. 

Drawing-in — 1st edge, 7 dents, 4X2 gros de Tours. 

Ground, 968 " 2X2 armure. 

2d edge, 7 " 4X2 gros de Tours. 
Armure ground on 12 shafts, straight draw. 
Gros de Tours, edges on 4 shafts. 

Warping Ticket — Ground warp, 54 yards. 
1936/o white. 
Gros de Tours edges, 55 yards. 
2x28/2 white, on separate rolls. 
Total . . . 3984 single ends. 

Harness— 12 shafts, 1936 heddles, per 18^ inches. 
1 " 8-/3 " " 1 

4 Shafts gros de Tours edges, with 28 heddles on each side 

Reduction of Filling — Per 1 inch, 96 picks, 1 end. 

Warp Calculation — ? lbs. = 3984 ends. 
1 end ^= 54 yards. 
1000 yards = 1,50 drams. 
256 drams = 1 lb. 

100 = 104 (4% waste). 

3984X54X1,50X104 

= 1,31 lbs., or 1 lb. 4,96 ozs. 

1000X256X100 



93 

Filling Calculation— ? lbs. = 50 yards. 
1 yard ^= 36 inches. 
1 inch = 96 picks. 
1 pick =: 19 inches. 
36 inches = 1 yard. 
1000 yards =: 4 drams. 
256 drams = 1 lb. 

100 = 108 (8% waste). 
50X36X96X19X4X108 

= 1,54 lbs., or 1 lb. 8,64 ozs. 

36X1000X256X100 
After weaving, the small flower effects have to be printed on 
the cloth. 



95 



DISPOSITION 6 



Pekin : 8 shaft satin and repp. 




Fig. 94 



_ 



96 



Length and Width — 1 piece 100 yards long, 20J4 in. wide. 

Ital. Organ., PVioo drams, black, bright, 

'722 OZ. 

Stock and Dyeing —Warp. < Ital. Organ., l"Aoo drams, sky, bright, 

pure dye. 
. Cotton No. '""A, scarlet. 
Filling. — 3 threads Jap. Tram., 2Vio drams, scar- 
let bright, "/i6 OZ. 



Reed Calculation — Per 1 inch, 68 dents, 



6X1, black satin. 
6X2, colored " 
2X1, " repp. 





(( 


20^ 


<( 


L377 " 
















23 " 


(1/2% 


for shrinkage). 




Total 


. 




1400 dents. 






)rawin 


g-in— 1st edge. 


7 dent 


3, 6X2 


satin. 








Ground, 


34 




6X1 


<t 


■• 








2 




6X2 


<( 










10 




6X1 


" \ 


twice 








2 




2X1 


repp. [ 


over. 








10 




6X1 


satin. 










2 




6X2 


n 










39 




6X1 


tl 










5 




2X1 


repp. 1 


twice 








4 




6X1 


satin. ^ 


over. 


7 times 






5 




2X1 


repp. 




over. 






15 




6X1 


satin. 










2 




2X1 


repp. 










15 




6X1 


satin. 










5 




2X1 


repp. 1 


twice 








4 




6X1 


satin, j 


over. 








5 




2X1 


repp. 










5 




6X1 


satin. 










28 




6X1 


II 








2d edge. 


7 




6X2 


II 







Satin on 1st section of 8 shaft skip draw. 
Binder " 2d " " 2 " 
Repp " 3d " " 2 " 



97 

On each side of every repp stripe two ends of the satin warp must 
be entered on the 2 binder shafts (2d section), to prevent the ends of 
the satin to sHde over into the repp stripes. 



V7 



Warping Ticket —I. Beam satin, 106 yards. 
1st edge, 42/2 black. 

Ground, 204A " 
12/2 sky. 
I8O/1 black. 
12/2 sky. 
234/1 black. 
48/2 sky. 
180A black. 
48/2 sk}'. 
30/1 black. 
168A " 
2d edge, 42/2 " 

6132 single ends black. 
" sky. 



times over. 



1680 
II. 



Beam repp, 110 yards. 
4A scarlet. ' 
4A 



" 7 times over. 



lOA 
lOA 
lOA 
4A 
lOA 
lOA 
lOA 
504 single ends scarlet cotton. 

This warp has to be beamed in stripes. Make out a diagram for 
the warper the same as shown in Fig. 95. 



98 

















"^Ha/l 


^^//V^,^^ 


r 1 • , 1 1 i • < . t • i ; * 1 ' 1 

*^\ . ! 1 • . . • ! , ! . » 1 . 1 7^ 


663 


^ „ Jfly^Adj^ 


1 1 


/ ' 


/ 2 


2 y ^ 


/ ^ i 


t /' I 


^S 


z " ^Lyy*/ 




I 


I S 


J i 


I 5 


5^1 , 
I,. ,- J 


50^ 




^ 




^J 1 






V 

Fig. 95 



Harness— Fig. 95 shows how to make a diagram of a harness for a 
Pekin. The heddles are marked per one shaft. As the repp 
stripes are only small ones, we use for the satin a full harness, 
that is, one without open spaces for the repp stripe. All to- 
gether we have in the satin warp 6888 single and double ends to 
draw in; of these 252 ends are used for binders, on both sides 
of the repp stripes. Thus remain for 

8 shafts, 6636 heddles per 20>4 inches. 
1 " 40 " " 1 

Reduction of Filling— Per 1 inch, 144 picks, 1 end. 

Warp Calculation — ? lbs. = 6132 ends (1680 ends sky). 
1 end = 106 yards. 
1000 yards = 1,35 drams (sky 1,15 drams). 
256 drams = 1 lb. 

100 = 104 (4% waste). 
6132X106X1,35X104 
= 3,56 lbs. for black, or 3 lbs. 8,96 ozs. 



1000X256X100 
1680X106X1,15X104 

1000X256X100 



= 0,83 lbs. for sky, or lbs. 13,28 ozs. 



99 



? lbs. = 504 ends. 
1 end ^110 yards. 
840 yards = 1 skein. 
(No. lOOA) 50 skeins = 1 lb. 

100 = 104 (4% waste). 

504X110X104 
= 1,37 lbs. scarlet cotton, or 1 lb. 5,92 ozs. 



840X50X100 

Filling'Calculation — ? lbs. = 100 yards. 

1 yard = 36 inches. 

1 inch = 144 picks. 

1 pick = 21 inches. 

36 inches = 1 yard. 

1000 yards = 2,8 drams. 

256 drams := 1 lb. 

100 = 108 (8% waste). 

100X36X144X21X2,8X108 

zz= 3,57 lbs., or 3 lbs. 9,12 ozs. 

36X1000X256X100 



100 

JACOUARD WEAVES 

Jacquard weaves usually show on a plain ground figure or 
flower effects. To obtain these effects the ground is made of 
one weave, say taffeta, while the figures or flowers are pro- 
duced in another weave, sav satin. 

We enter the warp through a jacquard harness, and ac- 
cording to the repeat use a 200, 400, 600, 900, 1200, etc., hook 
jacquard machine, which means 200, 400, 600, 900 and 1200 
ends per repeat. 

With a 600-hook machine a larger repeat can be produced 
than with a 499-hook machine. For instance, if we want to 
make a cloth the figures of which are to be two inches apart, 
it is a two-inch repeat, and use the count of 50/4 or 200 ends 
per inch, we can use a 400-hook machine, 2 in. x 200 ends. 
But we can make this cloth also on a 1200-hook machine, only 
the repeat must be designed three times. The advantage of 
using a 1200-hook machine with the count 50/4 is that 2, 3, 4, 
6-inch repeats can be produced, while with a 400-hook machine, 
only a 2-inch repeat can be made. 

There is no end to all the different weaves and the possible 
flower and other pattern effects that can be made with the 
jacquard machine. For a jacquard weaving plant the design- 
ing is the most important factor. 

BOX LOOM WEAVES INCLUDING CREPES 

Box looms are required for weaves such as bayaderes, 
checks, plaids (see pages 63-65), bengalines, crepes, etc., where 
two or more shuttles are needed to bring out the effect. 

For the crepes (crepe de chine, crepe georgette) only two 
shuttles are needed, while plaids and other articles are made 
with more shuttles. 

To weave such articles the loom or the lay must be fitted 
with two or more shuttle boxes on one or both sides of the 
loom. 



101 

If a manufacturer decides to change plain looms to box 
looms or buy new box looms, it is wise to get 4x4 boxes, or 
four shuttle boxes on each side. 

With these looms about everything can be made that is 
called for in box-loom effects, and as styles change, it is wise 
to be prepared. 



MANUFACTURING COSTS 

The calculator tirst ascertains for the warp: What silk 
will be used, the cost of the same, total number of ends in the 
warps for the amount of silk, cost of throwing, dyeing, wind- 
ing, warping, twistmg, entering, and weaving. 

Then the filling: Silk to be used, how much, cost of silk, 
cost of throwing, dyeing, winding, doubling, quilling. 

After this determine the cost of weaving, cloth picking, 
finishing, factory costs, and selling expenses. 

To-day most of the operations are paid by "piece work," 

The calculator must always take into consideration that 
poor raw silk or poor dyeing make production slow, increase 
the cost of labor, and also that more waste will be made. 

Throwing : Regular organ usually has 16 turns per inch 
in the first twist and 14 turns to the inch in the second or re- 
verse twist. Tram receives only one twisting, about three turns 
to the inch. 

As the warp twisting-in is paid for at so much per hun- 
dred or thousand ends, no matter how short or long the warp 
is, it is a saving to make the warps as long as possible, 
especially in raw, black and staple colors. 

The calculator must not forget the cost of entering the 
first warp in a harness, also the reeding. 

Most mills figure the cost of harness and reed in the ex- 
pense accounts. If plain and fancy goods are made an extra 
percentage should be figured for the latter. 



102 

Expenses are figured differently, as almost every manu- 
facturer has his own system. If a mill makes only a few staple 
articles it is easy to put down the cost of expenses. Say the 
mill has a production of 500,000 yards per year, that the ex- 
pense amounts to $35,000, the cost then is 7 cents per yard. 

Manufacturers making all kinds of goods sometimes figure 
the expenses in percentage, say, for plain goods, with a few 
picks, like gros-grain, peau de sole, etc., 10 per cent, per yard. 
Taffeta, satin, etc., having more picks, 12^^ per cent, per yard, 
and fancy and jacquard goods, 15 per cent, per yard. In the 
expense account we include all charges except raw silk, throw- 
ing, dyeing and piece work. 

Selling Expenses. Before a calculation is finished we 
must add the selling expenses to the cost, also take account 
of the trade discount. Small mills usually sell through a com- 
mission house, which pays all expenses and charges a certain 
commission. Many large firms have their own selling end, and 
some have their sales guaranteed by a commission house or a 
bank. 



103 

CALCULATIONS 

The prices marked in the following calculations are about 
as in "normal times." Absolutely correct piece work prices 
cannot be given as different localities have different prices. 

Calculations are usually made per 100 yards, 100-meter 
warps. 

Most goods gain from 3 to 7 per cent, in weaving. That 
is, if we make a warp of 300 meters for a satin and we obtain 
315 yards of cloth, this gain should not be calculated, as usually 
there is no account taken of samples used in the selling de- 
partment. But the loss in length should be figured and taken 
account of on goods with a heavy rib, such as moire, faille, etc. 

Disp. 7 — A 3 1/3-inch repeat can be obtained with a 600- 
hook jacquard machine, seven repeats in a width of 23 inches. 

Disp. 8 — Taffeta weave, but the tw^o cotton picks must go 
in one hole. This article can only be made with at least two 
shuttle boxes on each side. For warping use a single and 
double cross reed, heavy cotton, no knots must be tied. 

Disp. 10 — This article must be warped with as much ten- 
sion as possible and no knots should be tied in. Silk is to be 
delivered on bobbins from throwster. 



CANTON crepe. 

Disp. 9-^Can also be made with Canton silk for filling and 
may be called Canton crepe. xA.s Canton silk is much cheaper 
than Japan, the manufacturer can use 4-thread Canton instead 
of 3-thread Japan for filling at a little difference in cost, thus 
the cloth will be heavier, but Canton silk is not as even and 
clean as Japan. 



104 



Article — Taffeta Glace Reed 70/3 
Disp. 1 V\'idth 18^ in. 



Warp— Ital. Ex. Class 12/14 




$5.00 raw silk 
.60 throwing 




2-Thread Organ, brown 


bright 


.45 dyeing 




16-oz. 




.15 winding 




raw lbs. 2 60 




$6.20 


$16.23 


Warping — 4032 at 3c. 






1.21 


Twisting— 3978 at 25c. per 300 


meters 




.33 


Filling — Jap. Tram. Best No. 1 


13/15 


$4.25 raw silk 
.45 throwing 




2/2 ends 104 picks 




.45 dyeing 
.15 winding 




gold bright 16 oz. 




.15 doubling 
.10 quilling 




raw lbs. 2.73 




$5.55 . 


15.02 


Weaving 






7.00 


Picking 






1.00 


Finishing 






1.00 


Expenses 






7.00 



Article— Surah 3-1 Reed 80/2 
Disp. 2 Width 36 in. 

Warp— Ital. Ex. Class. 10/12 

2-Thread Organ, bright black 
24 pz. 

lbs. 3.36 
Warping— 5904 at 2^c. 
Twisting— 5872 at 25c.— 600 lb. warp 
Fining— Cotton 120/1 

black 1 end 120 picks 



$48.79 
5% trade discount 
7^2% selling commission 
Divide by 87^/4 
Cost per yard = $0.5576 



$5.20 • 
.65 

.81 discount 15% 
.30 dyed 20% 



$6.96 



$23.39 

1.62 

.25 



$1.25 
.10 dye 
.08 winding 
.07 quilling 



Weaving 
Picking 
Finishing 
Expenses 



lbs. 9.50 



$1.50 



14.25 

12.00 

1.50 

2.00 

7.00 



$62.01 

5% discount 

6% commission 
Divide by 89 
Cost per yard = $0.6967 



105 



Article — Satin Duchesse Reed 66/4 
Disp. 3 Width 2 x 23 in. 

Warp— Ital. Ex. Class. 12/14 

2-Thread Organ, black bright 
22 oz. 

lbs. 8.50 
Warping— 12624 at 254c. 
Twisting — 12256 at 25c. 600 meters 
Filling — Jap. Tram No. 1 — 14/16 

black soiiple 44 oz. 

V2 and 1/3 = 1/5 80 picks 



lbs. 7.14 
Weaving 
Picking 
Finishing 
Expenses 



$5.00 
.60 

.21 

$6.54 



$4.00 
.40 

1.60 net 
.40 

.40 doubling 
.30 



$55.59 

3.47 

.51 



$7.10 


50.69 




13.00 




2.00 




2.50 




8.00 




$135.76 


Divide by 89 




Cost per yard = 


= $0.7627 



Article — Armure Satin Reed 60/4 
Disp. 4 Width 26 in. 

STOCK AXD DYE 

Warp—Tap. Ex. 12/14 

2-Thread Organ, black bright 
20 oz. 

lbs. 4.30 
Warping — 6520 at 2^c. 

Twisting — 6424 at 25c. 600 meters 
Filling— Jap. Tram No. 1 16/18 

black bright 26 oz. 

2/3 ends 104 picks 



lbs. 6.80 
Weaving 
Picking 
Finishing 
Expenses 



$4.75 
.60 
.64 
.19 

$6.18 



$4.00 
.30 
.94 
.25 
.25 
.17 

$5.91 



$26.57 
1.79 

n 



Divide by 89 
Cost per yard 



40.19 

10.00 

1.00 

1.00 

7.00 

$87.82 

$0.9867 



106 



Article — Printed Armure Reed 52/2/2 
Disp. 5 Width 18^ in. 

STOCK AND DYE 

Warp— Ital. Ex. Class. 12/14 ^ $5.00 

2-Thread Organ, white bright .60 

P.D. .2?> 

.12 



lbs. 2.62 
Warping— 3984/1 at 3c. 
Twisting— 1992/2 at 30c. 300 meters 
Filling — Ital. Tram souple 13/14 

white bright P.D. 

1/5 end 96 picks 

lbs. 3.08 
Weaving 
Picking 

Finishing and Printing 
Expenses 



$5.95 



$4.50 
.30 
.23 
.10 
.07 



$15.59 

1.20 

.20 



$5.20 


16.02 




8 00 




1.00 




5 00 




8.00 




$55.01 


Divide by 87i/^ 




Cost per yard = 


: $0.6287 



107 



Article — Satin Striped Reps Reed 60/62 
Disp. 6 Width 20^ in. 

STOCK AND DYE 



Warp — Ital. Ex. Organ. 


24/26 


$5.00 


black bright 22 


oz. 


.60 
.73 
.21 


lbs. 3.56 




$6.54 


Ital. Ex. Organ 


18/20 


$5.20 
.65 


sky bright P.D. 




.23 

.12 


lbs. .83 




$6.20 


Cotton 100/2 




$1.00 
.12 
.08 


scarlet lbs. 1.37 




$1.20 


Warping — 8316 at 4c. 






Twisting— 7434 at 50c. 


300 meters 




Filling — Jap. tram. No. 


1 14/16 


$4.00 
.35 


scarlet bright 16 oz. 1/3 ends 


.45 






.15 


144 picks lbs. 3.57 




.10 

$5.05 


Weaving 






Picking 






Finishing 






Expenses 15% 


' 





$23.28 



5.15 



1.64 
3.32 
1.24 



18.04 

12.00 

1.00 

1.00 

$66.67 
10.00 

$76.67 



Divide by ZIYz 

Cost per yard ==: $0.8763 



108 



Article — Messaline Brocade Reed 60/3 
Disp. 7 Width 23 in. 

Warp— Jap. Ex. 13/15 $4.50 

.60 
2-Thread navy bright 16 oz. .45 

.15 



lbs. 3.20 $5.70 $18.24 

Warping— 4320 at 3c. 1.30 

Twisting— 4260 at 30c. 300 meters .41 

Filling— Jap. Tram No. 1 13/15 $4.00 

.35 
emerald ex. bright dye 24 oz. .95 

.25 
1/3 ends 100 picks .15 



lbs. 2.50 $5.70 14.25 

Weaving 9.00 

Picking 1.00 

Finishing 1.00 



Expenses 15% 



Article — Bengaline Reed 72/2 by 1 single ; 1 double. 
Disp. 8 Width 36 in. 

Warp — Jap. ex. 13/15 

2-Thread Organ, black bright 
20 oz. 

lbs. 5.77 
Warping— 7964 at 2)4 c. 
Twisting— 5296 at 30c. 600 meters 
Filling — 56 picks by 

5 organ. 2 Cotton 



40 picks Organ, as warp 
lbs. 1 

16 picks black cotton 15/4 
lbs. 22.50 



Weaving 
Picking 
Finishing 
Expenses 





by 871/4 
sr yard = 


$45.20 
6.78 


Divide 
Cost p 


$51.98 
$0.5941 


; 1 double. 




$4.50 
.60 
.64 
.19 






$5.93 




$34.22 

2.19 

.27 


$4.50 
.60 
.64 
.19 
.12 


.45 
.10 




$6.05 


.08 
.07 


6.05 


• 


$ .70 


15.75 

12.00 
1.50 
3.00 
8.00 



$82.98 
Divide bv 91 
Cost per yard = $0.9119 



109 



Article — Crepe de Chine (Taffeta weave) Reed 60/2/2 
Disp. 9 



Width 40 in. 
44^ in. in reed 
Warp— Jap. Ex. Grege 20/22 



2% waste lbs. 5.60 
Warping— 5340/2 at 2i/^c. 
Twisting— 5340/2 at 25c. 600 meters 
Filling— Jap. No.' 1 13/15 

4 ends hard twist 60 turns 

84 picks by 2 right, 2 left 

twist 
25% waste and shrinkage 
lbs. 6.00 
Weaving 

Finishing and dyeing 
Picking 
Expenses 



$4.50 

.05 winding 



$4. 



OJ 



$4.00 
1.25 throwing 
.05 quilling 



$5.30 



$25.48 

2.67 

.23 



3180 
9.00 
5.00 
1.00 
7.00 

$82.18 
5% discount 
59c selling expense 
Divide bv 90 
Cost per yard — $0 9131 



Article — Crepe Georgette Reed 50/2 

(Taffeta weave) b}' 1 right, 1 left twist 
Disp. 10 W^idth 40 in. 47 in. in reed 

Wari^Ital. Ex. Class. 16/18 Raw $5.20 



2-Thread hardtwist 75 turns 
30% shrinkage and waste lbs. 5.40 
Warping— 4640/1 30/2 4760 at 4c 
Twisting — 4700 at 50c. 600 meters 
Filling — Same silk as warp 

100 picks by 2 right, 2 left 
twist 



lbs. 5.00 
Weaving 
Picking 
Finishing and dyeing 



Expenses 12^% 



1.60 
$6.80 



$5.20 

1.60 

.10 

$6.90 



$36.72 

1.90 
.40 



34.50 

15.00 

1.00 

6.00 

$05.52 
11.94 



$107.46 
Divide bv ZlVi 
Cost per yard — $1.2281 



no 



CALCULATION BLANK 



ARTICLE. 



RPPP 



ni9,P WIDTH 







WARP 






































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PRICE. PHR>^ARO 



INDEX 



Page 

Drawing-In 7 

Straight Draws : 7 

Skip Draws 9 

Point Draws 9 

Section Draws 10 

The Weaves and Their Construction 15 

The Taffeta Weave 1 7 

Gros de Tours Weaves 1 9 

Serge Weaves 20 

Twill Weaves 20 

Filling Effects 21 

Satin de Lyon 21 

Levantine 21 

Polonaise 22 

S e rge gro sse cote 22 

Serge Romaine : ; : 23 

Serge 23 

Warp Effects 25 

Levantine 25 

Evensided Twills 26 

Surah 26 

Croise 26 

Pointed Twills 27 

Satin Weaves 32 

Satin de Chine 34 

Satin Merveilleux 34 

7 Harness Satin 35 

Duchesse 35 

Irregular Satins 39 

Satin Turc _ 39 

Satin a la Reine 40 

Derivative Weaves 41 

From the Taffeta 41 

From the Twills 43 

From the Satin Weave 46 

Cannele and Repp Weaves 49 

Double Faced Fabrics 55 

Warp Effects 55 

Filling Effects '. 58 

Pekins 60 

Bayaderes 63 



Jl£ 



INDEX - Continued 



Page 

Checks and Plaids 65 

Decomposition 67 

The Weave 68 

Length and Width of the Fabric 68 

The Stock and Its Dye 69 

Reed Calculation 70 

Drawing-in the Warp in Harness and Reed 70 

Warping Ticket 71 

Harness Arrangement 71 

Reduction of the Filling 71 

Calculation of Warp and Filling 71 

Finishing 72 

Calculation of Cost 72 

Dispositions 75 

Jacquard Weaves 100 

Box Loom Weaves Including Crepes 100 

Manufacturing Costs 101 

Calculations 103 

Calculation Blank : 110 



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